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Urban Shocker's Neighbourhood Watch

Enjoyed chatting with you, US, at the symphony last night!

Time is tight and I have to run, but in short I thought the Brahms 4th Symphony shone while the efforts in the 2nd piano concerto were leaving something to be desired. I suspect (as several others did) that something was terribly amiss with the pianist. Brahms 4th -- I haven't heard a live performance as good as that since the days when Kurt Sanderling and Kurt Masur used to come around here to guest conduct. Yannick is superb, isn't he?!

I'll be in touch.
 
Yannick never faileth. He's my man ( on evenings when Guillaume isn't ).

I'm tempted to go again tomorrow night ...

Angelich came across as more of an ensemble player than a soloist, but I actually rather liked that since I'm not a huge piano fan - bravura scares me, especially anything by Rachmaninoff, who terrifies me. The cellist rather stole last night's show didn't you think? The second and third movements are the creative heart of the thing and I was quite happy with them.

Yannick conducts in Europe throughout December and next January, so I doubt if he'll be here for another Bach Christmas Oratorio at St. George's. But he's in Montreal in mid-February '09, and in Boston at the end of the month, so maybe he'll fit in another quickie Toronto concert? He conducts the TSO at the end of March '09, so that offers opportunities for a possible extra performance too.

Here's the stalker site:

http://www.yannicknezetseguin.com/schedule_2008_2009.html

Great to chat again Tony - you'll have to meet the rest of the lads sometime!
 
COC names German-born Alexander Neef as general director
Last Updated: Wednesday, June 25, 2008 | 4:15 PM ET

CBC News

he Canadian Opera Company in Toronto has hired Alexander Neef, the casting director of the Opéra national de Paris, as its new general director.

Just 34, the German-born Neef represents a fresh start for the COC and is charged with filling the void left by Richard Bradshaw, the former general director who died suddenly last August.

Neef is not a conductor, but plans to soon begin the process of hiring a music director for the opera company. Under Bradshaw, the positions of music director and general director were combined.

A COC search committee, with the aid of an international executive search firm, chose him from a long list of 40-50 people, after doing intensive interviews.

"He was the unanimous choice of the search committee and of the senior members of the company who met with him," said David Ferguson, president of the COC board of directors, at a news conference Wednesday at the Four Seasons Centre for the Performing Arts.

"One of the things we liked about him as a candidate is that he is young. The COC, along with many other arts organizations, faces a challenge of continuing to attract attention to our art forms in the younger elements of our community and certainly this candidate is a very visible symbol of what can be achieved by the right person," he said.

Despite his age, Neef has an extensive background as an administrator.

Born in Ebersbach an der Fils, near Stuttgart, he studied piano and has been a music enthusiast since he was a youth. He studied at Eberhard Karls University and began volunteering with the renowned Salzburg Festival while still a student.

He began work as an administrator with the Salzburg Festival in 2000 and then joined the RuhrTriennale, preparing opera theatre and dance productions for the multi-disciplinary festival.

He has been at the Paris Opera for four years, casting 80 operas in that time and getting to know talent from around the world.

"I'm very pleased and very proud to be standing here on this beautiful stage and to be leading the Canadian Opera company in the future," Neef said after being introduced to crowd of supporters and media.

"One of the predominant qualities of the company is it sets its sights very high," he said, "I've been very impressed with the commitment of the staff and the artists. What was impressive to me was the pride that all these people take in the company."

He paid tribute to Bradshaw's legacy and said he intends to build on it.

Neef briefly sketched an ambitious vision for the company that includes:

Attracting great artists, including more international opera stars.
Creating a high-quality standard repertoire and adding new operas the COC has never performed.
Commissioning and producing new operas.
"It is important for this company to do operas it has never done before — there are a few major pieces that have never been done here," he said, mentioning Wagner's Parsifal.

In answer to a question from the audience, he said another Ring Cycle is not likely in the near future.

Neef said the 2009-10 and 2010-11 season are largely planned, but he intends to start work on the following two seasons. He said he will "extend the planning cycle" to make it possible for the COC to attract major international stars who are booked years in advance.

He also plans more collaborations, possibly with companies such as the New York City Opera, which he has worked with in the past.

Neef is married and has one daughter. He takes up the position as general director of the COC in October.
 
How interesting - first Gerard Mortier leaves the Opera National for the New York City Opera, and now Neef leaves them for the COC.

Perhaps we'll see some co-productions? Maybe even some live broadcasts from the FSCPA, to rival what Gelb has done with the Met?

Thank goodness Bradshaw's habit of trawling eastern Europe for bargain basement singers is being replaced by an emphasis on adding top international singers to our excellent Canadians, and expanding the repertoire.
 
I think this is an excellent appointment, and it is a sign that Board at the COC got a really good read of the opera-going public's wants and desires. I sense that things will work out really well at the opera with Alexander Neef around.
 
My tickets for next season just arrived. They've advanced me a couple of rows, as per my request.

I'm near the exact centre, half way between the stage and the back of the hall - at the visual epicentre of everything. Well, not quite everything, because there will still be people on stage, but I'm working on that - If I wear a nice gown and flutter my fan enough all eyes will be drawn to me at all times.
 
My seats for this year (which will be shared on a number of occasions with another esteemed UT Forumer) are also a couple of rows ahead of where they were last year, and now dead centre too. It's just that they are in Ring 4, and not the in Orchestra, and on Tuesday nights. (I left instructions to move to whatever weeknight had the best seating available.) Overall I am quite happy with the incremental improvement, and look forward to the season starting up.

42
 
Yep. I had to switch off the weekend, and told them whichever night had the best seats available would be appreciated. I'll probably ask again next year though - I'd like to eventually get back to the Thursday evening series.

42
 
When I tripped gaily off the bus at Pape and Danforth this morning imagine my delight at coming face to face with a large, bright, and surly diptych by the late and surly William Ronald - just inside the front door of a new gallery that's opening next week at 707 Pape, adjacent to the library.
 
Went to the Saturday Sept 20th performance of Toronto Symphony Orchestra's opening week, Mahler's 3rd Symphony, which is a giant and lengthy ode to nature. I couldn't have asked for better. Oundjian's eastern-European blood is evident in that he knows the accents required to serve up Mahler's twists and turns, especially in the scherzo-like second movement ("What the Flowers in the Meadow Tell Me") and in the third movment ("What the Animals in the Woods Tell Me"). Peter Oundjian was born to conduct these works.

This orchestra has become a world beater under Oundjian. Excellent playing all around. If there was one show stealer it was McCandless, but actually, there wasn't a show-stealer. I think this will be an excellent TSO season. I'll publish my schedule of concerts later.
 
I'm glad the COC decided to Bring Back the Don. Brett Polegato makes a convincing sex addict.

The other locals - Jessica Muirhead's Donna Anna, Virginia Hatfield's Zerlina, Robert Pomakov's Leporello - were also excellent. The imports seemed a bit patchy - Russian bass Stanislav Shvets was a good Masetto ( and can act ), but Don Ottavio was underwhelming and lost at times, and the Donna Elvira sometimes a bit shrill - she reacted now and then, not what I'd call acting.

Plenty of 905 Russians in the audience, cheering on Shvets.

Didn't see anyone famous, in my sweep through the fancy lounge ... unless you count John Rosen. I think I spied new boy Neef and the missus.
 

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